A relatively weak weekend at the U.S. box office, which again fell short of $100 million in total. The top spot went to DC’s latest release, ‘Clayface’, debuting with $24 million. It’s a rather chilly figure for the film, not entirely bad though.
Granted, when compared to the $37 million that ‘Supergirl’ pulled in during its opening weekend, we might be tempted to gasp, but it’s also true that this is a low-cost DC debut, with a budget of only $44 million. It’s nearly the amount the film earns ($43 million) when combining all international markets, so profitability in this case is virtually assured.
Without the pressure of being a mega-splash, the film seems to have performed better among critics and audiences, earning an A- on CinemaScore. Still, it ends up $1 million short of the $25 million Warner had forecast for this release.
‘You Can See Everything’ Confirms Its Phenomenon
And who would have told Warner when they booked this weekend on the calendar that the thing that would make things difficult for them would be a three-hour documentary. ‘You Can See Everything’ gains 1,800 screens in its second week and manages to improve its box office from the first weekend by 25%.
Specifically, $19.5 million for a total of $45.1 million. We are witnessing another unexpected cinematic phenomenon, in the same year as ‘Obsession’ and ‘Backrooms’, though with even more merit when considering the film’s genre.
It marks the second-best weekend for a documentary after Fahrenheit 11/9 in 2004. And, if rumors are to be believed, the film has already become one of the most plausible contenders to surprise at the next Academy Awards, where it could even vie for a Best Picture nomination.
Economically, it is already the third-highest grossing documentary of all time, behind Fahrenheit 11/9, which grossed $119.19 million, and ‘March of the Penguins’, which earned $77.4 million.
‘Wildwood’ Delights Audiences but with a Modest Turnout
The weekend’s third spot goes to another debut, this time the indie stop-motion animated feature ‘Wildwood: The Wild Forest’. It’s a premiere that’s hard to parse. On one hand, it’s true the film lacked the backing of a major distributor, but on the other hand you can’t overlook its $100 million budget.
With that level of production, good reviews aren’t enough, and the $11.6 million gross seems somewhat short for the film, for which we still do not have international figures.
The fourth spot goes to the second week of ‘Street Fighter’, which loses as much as 72.1% in its second week. A drop above the average and in line with the poor audience reaction, for an adaptation that totals $46.9 million in the United States and $79.6 million worldwide. Remember the film’s budget is over $82 million, so profitability remains far from guaranteed.
In fifth position you find another debut of the week, the fantasy film ‘Wicker’, starring Alexander Skarsgård and Olivia Colman. $5.7 million is its take, distributed in the United States by Black Bear.
‘The Black Ball’ Expands Barely in Its Second Week
The second half of the top 10 kicks off with the HYBE Cine Fest 2026, a mega-event that streamed BTS’s concert in Buenos Aires live along with other performances, and which grossed $4.5 million. A notable figure considering it only played in cinemas on Saturday and Sunday, with no Friday release.
The remaining four films closing the top 10 are already-released titles. ‘The Other Mother’ is seventh with $3.8 million (51.5 million total), followed by ‘Sense and Sensibility’ ($3.4 million for $13.6 million total), ‘Whalefall’ ($3.2 million for $14 million total) and ‘Verity. The Shadow of a Lie’ ($3.06 million for $71 million total).
We close the weekend’s U.S. box office recap with a note on ‘The Black Ball’ in its second week in U.S. theaters. Netflix’s strategy is a very gradual rollout, and the film only adds 5 cinemas this week, bringing the total to 9. Yet, its gross drops to $245,000, with a U.S. total of $650,104.
Although Netflix aims to reach around 300 theaters, it won’t be next week either, when it will continue adding cities but without a global release until November 6. A strategy to gradually build word-of-mouth and social media buzz.
However, the truth is that Javier Calvo and Javier Ambrossi’s film has had the misfortune of colliding with the unexpected hit of ‘You Can See Everything’, which has diverted a lot of attention away from the independent film circuit.
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